Savor … Tristan und Isolde

What to say about Richard Wagner? That contentious guy certainly knew how to put on an opera – er, “music drama” (for Wagner set out to change the way operas were made). Both composer and librettist (a rare dual talent) not to mention also a conductor and essayist, Wagner’s music in Tristan und Isolde does not disappoint. Nor do the stellar performances of conductor Asher Fisch and the compact 8-member cast: Annalena Persson (Isolde) in her U.S. Operatic debut; Clifton Forbis (Tristan); Margaret Jane Wray (Brangäne); Greer Grimsley (Kurwenal); Stephen Milling (King Marke); Jason Collins (Melot); Simeon Esper (Sailor-Shepherd); and Barry Johnson (Steersman). The storyline is an old one – think Romeo and Juliet, only in reverse – they die at the beginning, and then live out their mistake-laden, passion-ridden future instead of their past as life flashes before their eyes (here, talking figuratively, not literally, for this opera is nearly five hours long, dear hedonists).

Tristan und Isolde, Seattle Opera’s third production (the other two times were 1981 and 1998), opened on July 31st (your Hedonista attended as media) and will run for an additional six performances, with the evening performances starting at 6:30 p.m.: August 4th, 7th, 12th, 15th (2:00 p.m. matinee), 18th, and 21st, 2010.

Considering attending? Just two (albeit important) caveats:

(1) Wagner created Tristan und Isolde at a rather repressive time in history; its premiere took place in Munich at the Royal Court and National Theater on June 10, 1865. As a result, the sexual passion and erotic overtures are all located within the music – even the bed, complete with tousled sheets, stands upright like a wall. Trust me, by the end of it, you empathize with the characters and feel their frustrations as much as they do.

(2) Once again, this performance is a looong one – 4 hours and 37 minutes all total, including two 30-minute intermissions. This makes for a couple of “oh will you just DIE already” moments. It also makes for one hugely hungry hedonist if you don’t plan on a pre-order from Prelude, McCaw Hall’s dining establishment – either between the pre-show lecture and the start of the performance or between the first and second acts (but not during the final intermission, as Savor is closed by then) – you can pre-order your meal. During the break, your meal arrives to your table before you do – sort of bizarre culinary quick food, but it works (not to mention tastes like you’ve patiently waited 45 minutes+ for your carefully prepared meal). They offer small plates, salad, panini, and soup, large plates, and desserts. To imbibe, they offer regional wines – Washington, Oregon, and California – with a smattering of Old World labels as well as port, sherry, scotch, and brandy (or bring in your own bottle for a corkage fee of $20). My companion and I purchased the Carlton Farms (Oregon) beef cheek with potato purée and baby carrots ($21) and Molly Moon’s homemade salted caramel ice cream ($4) and the blueberry crisp with almond streusel ($8). As we sped-ate our fantastic fare and then hurried from our table back to the show, we found that our palates as well as our stomachs were not disappointed.

So, whether it’s a 30-minute tasty speed-nosh, Wagner’s lengthy German music drama, or both, be sure to savor every moment….

For if Tristan und Isolde teaches you one thing, it’s that life’s importance lies embedded within its experiential moments, be they lengthy or brief.

Note: In order to comply with FTC Act 16 C.F.R. 255, Heed the Hedonist would like to disclose that it does receive media “comps” and/or media discounts – but not in exchange for favorable coverage, or for withholding unfavorable coverage, of the given venue/meal/performance/product/service.